Alright – so today we’ve got the honor of introducing you to Matthew Krell. We think you’ll enjoy our conversation, we’ve shared it below.

Matthew, thanks for joining us, excited to have you contributing your stories and insights. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

Tracking artistic growth in the first person is challenging. True progress often becomes clear only with time, such as when reviewing an older performance recording with mature, impartial ears. Despite growing up in a small coastal town in Canada, I was fortunate to have exceptional teachers in piano, music theory, and drama. Their influence profoundly shaped my understanding of the traditional learning process required for musicians in post-secondary and conservatory training. I began my undergraduate studies at 20, which motivated me to complete my schooling efficiently. Summer and winter sessions defined my undergraduate degrees at The Master’s University and graduate studies at the University of Southern California, all before the widespread availability of online learning options that surged post-pandemic. I believe I completed these degrees as quickly as possible.
Flexibility is the most critical skill for a pianist. As a musician, every week brings new demands, requiring comfort with sight-reading and collaboration across diverse genres. Beyond a certain level of technical proficiency, this becomes less a skill and more a mindset—one often overlooked in traditional piano education, which tends to prioritize accuracy through rigidity over spontaneity.
Like many, I experienced the challenges of 2020–2022, when education was either fully online or hybrid. This shift not only disrupted learning but also limited arts opportunities—performances, competitions, festivals—and the personal connections vital for exposure in the competitive music field. Despite supportive and innovative professors, I was surprised by how reductive education at the highest levels could feel. Fortunately, the administrators and mentors throughout my journey were invaluable in supporting my learning and leveraging my strengths. I’m deeply grateful for this, knowing it’s not a universal experience. Many face issues like transfer credit disputes or incur significant costs without completing their degrees. While musical intuition and artistic growth are distinct from academic knowledge, actively participating in musical activities strengthens and sustains both dimensions.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I’m Matthew Krell, a Canadian-born pianist, composer, actor, and educator now based in Santa Clarita, CA, with 16 years in the performing arts, driven by a passion for music and theater that began with early piano lessons and local productions in Canada, leading to formal training at the Royal Conservatory and advanced degrees from USC Thornton School of Music, including a Doctor of Musical Arts (DMA) completed on a full-scholarship. I create and perform genre-blending music—seen in albums like Doxology Vol. I and Vortex—and serve as President of the World Piano Teacher’s Association (WPTA) Canada, where I recently launched an international competition for pianist-composers, while also producing recitals and events through my 501(c)(3) Rhapsodia to feature emerging artists and exceptional music. I thrive on the energy of live performance, cherishing the connection and memories it creates with audiences, and I’m dedicated to developing more live events and encouraging attendance to bring the magic of in-person music to more people. I teach in the public school district and as a private mentor, serving clients by delivering captivating performances and impactful mentorship, with my versatility, global awards like the PianoHouse International Competition, and faith-driven authenticity setting me apart. I’m proudest of my recent marriage to the love of my life, Ambrey. I strive for educational impact, nurturing students’ growth in both public schools and private settings, and I want potential clients, followers, and fans to know my work is about inspiring connection through innovation, passion, and bridging classical, jazz, sacred, and contemporary traditions in this digitally oversaturated era.

How can we best help foster a strong, supportive environment for artists and creatives?

One of the best things we can do is show up—attend live concerts, art shows, or theater gigs, especially for smaller, independent artists who don’t have some massive corporate machine behind them. Purely as a recent example, Lady Gaga—she’s a phenomenal musician, really—but there’s something seriously off-putting about stuff like the “Lady Gaga Mastercard Dance Challenge.” Like, really? Mastercard, yet another company that’s paid close to billions in global fines. It’s hard to stomach big brands like that latching onto artists’ authenticity to sell their image, but that really is the entire business model.
I got more in-depth with the music industry while earning my Law Certificate from the USC Gould School of Law. It completely flipped my perspective which was already somewhat cynical as a “classical” musician. The digital era has made music super accessible, but it’s come at a cost. The soul of the musical experience, that social, human connection that’s been part of humanity forever, has taken a hit (especially attention spans and active listening, but that’s a whole other rant). Spotify’s great for convenience, of course I use it too, but it’s not the same as screaming your heart out at a live show and experiencing the talent of artists on stage. The live music scene has it’s problems too though, with big venue cartels like Ticketmaster straight-up gouging fans with insane ticket prices and fees. It’s a racket, and it makes it harder for both fans and artists to connect in person.
One nice by-product of the AI revolution is our reflection on how we value art itself. It’s not just a product of replicable zeros and ones—it’s a piece of someone’s soul, a spark that makes life richer. When we treat it like a commodity or let algorithms dictate what’s “hot,” we’re shortchanging everyone.
This is exactly why I’m so passionate about producing engaging live events. There’s nothing like the energy of a crowd, the visual talent on stage, and that moment when you feel connected to something beyond yourself. I want to create spaces where artists can thrive, fans can afford to show up, and the experience feels authentic. It’s about keeping the heart of creativity beating strong while balancing the necessary business interests.

Are there any books, videos, essays or other resources that have significantly impacted your management and entrepreneurial thinking and philosophy?

Absolutely, here are some recent books which I’ve found extremely valuable as an artist.

– All You Need to Know About the Music Business by Donald Passman. This should be required reading for every working musician, especially if you’re in classical, jazz or other niche spheres and will likely have to do networking and administrative tasks on your own.

– You Are What You Love: The Spiritual Power of Habit by James K. A. Smith. I found reading this book to be enlightening, which is a word I don’t use lightly or often. It doesn’t fall prey to similar philosophical and theological books which become verbose in self-aggrandizement but instead provides a user-focused introduction to the ancient insight that we are shaped most by what we love most, even more than what we might think.

As an educator I have been exploring more texts about the science of learning and memory (such as How Learning Happens: Seminal Works in Educational Psychology and What They Mean in Practice, 2nd ed., by Kirschner & Hendrick), which I imagine are not as universally appealing. However, another book that I believe is critical for parents, educators and really everyone is The Anxious Generation by Jonathan Haidt. It is a positively terrifying expose of the detriment smartphones have posed, specifically since the 2010s. It is a worthwhile read that will hopefully lead to real-world change for academic institutions and society beyond that. It also relates to some of my prior complaints about access to music through technology, especially how it impacts children and young-adults.

These books have lent perspective to how I manage my time professionally to proceed effectively with my artistic and professional activities.

Contact Info:

• Website: www.matthewkrellmusic.com, www.rhapsodia.org
• Instagram: https://www.instagram.com/krellyeah/?hl=en
• Linkedin: https://www.linkedin.com/in/matthew-krell-560517106/
• Youtube: https://www.youtube.com/@MatthewKrell

Image Credits

Anna Azarov
Miami International Piano Festival